Romantic literature. Romanticism in Russian literature

Romanticism is Movement in the European and American culture of the end of the 18th - the first half of the 19th century. Romanticism opposed the mechanistic concept of the world created by the science of new time and adopted by education, the image of the historically becoming the world body; He opened new measurements in man associated with unconscious, imagination, sleep. The faith of enlightenment due to reason and at the same time - in the domination of the case due to romanticism lost strength: romanticism showed that in the world body, permeated with endless correspondences and the analogies, does not reign the case, and over a person who is given to the arbitrariness of irrational elements does not rule the mind. In the literature, romanticism created new free forms, reflecting the feeling of openness and infinity of being, and new types of hero, embodied the irrational depths of a person.

The origin of the concept is romanticism

Etymologically the term romanticism is associated with the designation in romanesque languages narrative work On the fictional plot (Italian Romanzo, 13th century; French Rommant, 13th century). In the 17th century, the epithet "Romantic" appears in England, meaning: "fictional", "quaint", "fantastic." In the 18th century, the epithet becomes international (in the 1780th appears in Russia), most often denoting the fancy, appealing to the imagination landscape: "Romantic locations" have a "strange and amazing view" (A.T. Bolotov, 1784; Quote by: Nikolaukin A.N. To the history of the concept of "romantic"). In 1790, Aesthetik A. Edison highlights the idea of \u200b\u200b"romantic dreams" as a special way of reading, in which the text serves only the "hint awakening imagination" (Adison A. Essays on the Nature and Principles of Taste. Hartford, 1821). In Russia, the first definition of romantic in the literature was given in 1805: "The nomanic is made the subject when he acquires the look of a wonderful, without losing his truth" (Martynov I.I. Northern Bulletin. 1805). The prerequisites of romanticism were the mystical theosophical exercises of the 18th century (F.Gemstergeis, L.K. Senmarten, I.G. Gamann), the historical and philosophical concept of I.G.German about the poetic individuality of Nations ("Spirit of the People") as the manifestation of the "World Spirit" "; Various phenomena of literary predocant. The formation of romanticism as a literary direction occurs at the turn of the 18-19th centuries, with the publication of the "heart of monk who loving art" (1797) V. G. Vakkenroder, Lyrical Ballader, S.T. Kolrigja and U. Avordsworth (1798), " France Sternbald's wanderings "L.Tika (1798), a collection of fragments of novisa" Flower pollen "(1798), the story" Atala "F.R.Da Shatubrivan (1801).

Starting almost simultaneously in Germany, England and France, the romantic movement gradually covered other countries: in 1800 - Denmark (poet and playwright A. Elenshleger, who had close ties with german romantics), Russia (V.A. Zhukovsky, in its own definition, "Parent in Russia of German Romanticism"; Letter to A.S.Sturdze, March 10, 1849); In 1810-20 - Italy (J. Lopard, U. (N.) Foscolo, A.Mandzoni), Austria (Dramaturgogram F. Hyrilparter, later Poet N. Slau), Sweden (Poet E.Tegner), USA ( V.Iirving, J.F. Kupper, E.A.P., Later, N.Gotor, Melville), Poland (A.Mitzkevich, Later, Y. Slovaki, Z. Krasinsky), Greece (Poet D. Solos); In the 1830s, romanticism finds the expression in other literature (the most significant representatives - the novelist Ya.V. Lennep in Holland, the poet Sh.peti in Hungary, H.T. Espron in Spain, Poet and Dramaturgogram D.Zh.H.Salvis di Magalyaines in Brazil ). As a movement associated with the idea of \u200b\u200bnation, with a search of a certain literary "formula" of the people's identity, romanticism gave the Plaria of national poets, expressed the "spirit of the people" and acquired cult value In his homeland (Elenshlegger in Denmark, Pushkin in Russia, Mitskevich in Poland, Peterfi in Hungary, N. Bratashvili in Georgia). The total periodization of romanticism is impossible due to its inhomogeneous development in various countries: in the main countries of Europe, as well as in Russia, romanticism in 1830-40-x loses leading value under the pressure of new literary flows - bidermayer, realism; In countries where romanticism appeared later, he mainly retained strong positions. The concept of "late romanticism", often applied to the main line in the development of European romanticism, usually assumes as a turning point mid 1810 (Vienna Congress 1815, the beginning of a pan-European reaction), when the first wave of romanticism (Iensky and Heidelberg romance, "Lake School ", E.P.D. SENANKUR, Shatubin, A.L.Zh.Dee Steel) Comes the so-called" second generation of romantics "(Swabsci-servants, J. Bariron, J. Kitz, P. B. Shelli, A.Te Lamartin , V.GUGU, A.Myuss, A.De Viny, Leopard, etc.).

Romanticism and Iensky Romance

Iensky Romance (Novalov, F. and A. Shlevale) were the first theorists of romanticismcreating this concept. In their definitions, romanticism sounds the motives for the destruction of familiar borders and hierarchies, spiritualizing the synthesis that has come to the change of the rationalistic idea of \u200b\u200b"communications" and "order": "Romantic poetry" "should be mixed, then pour together poetry and prose, genius and criticism" (Schlegel F. Aesthetics. Philosophy. Criticism), romantic like " true fairy tale"In which" everything should be wonderfully mysterious and incoherently - all vivid ... All nature must be some miraculously mixed with the whole world of perfumes "(Novalis. Schriften. Stuttgart, 1968). In general, Iensky romance, tied the concept of romanticism with a number of related ideas ("magic idealism", "Transcendental poetry", "Universal poetry", "wit", "irony", "musicality"), not only did not give romanticism of completed definition, but Approved the idea that "romantic poetry" "can not be exhausted by any theory" (F.shlegel. ibid.), which, in essence, retains its strength in modern literary criticism.

National features of romanticism

Being an international movement, romanticism possessed and pronounced national peculiarities. The tendency of German romanticism to philosophically speculation, the search for the transcendental and the magic-synthetic vision of the world was alien to the French romanticism, which was aware of himself primarily as an antithesis of classicism (there were strong traditions in France), was distinguished by psychological analytics (Shatubrian novels, de Stelle, Senancura, B . Constant) and created a more pessimistic picture of the world, permeated by the motives of loneliness, extension, nostalgia (which was associated with tragic impressions from the French revolution and internal or external emigration of French romantics: "The revolution expelled my spirit from the real world, making it too terrible for me "(Jubere J. Diary. March 25, 1802). English Romanticism in the face of the poets of the" Lake School "(Kalridge, Wordsworth), like German, to the transcendent and otherworldly, but found him not in philosophical constructions and mystical visible, but in Direct contact with nature, childhood memories. Russian rum Antisoma was distinguished by significant inhomogeneity: characteristic of romanticism interest in the old days, to the reconstruction of the archaic language and style, to the "night" mystical sentiments was already manifested with the writers of Archaist 1790-1820 (S.S. Bobrov, S.A. Sirinsky Shirts); Later, along with the influence of English and French romanticism (the widespread dissemination of Bayronism, the moods of "world sorrow", nostalgia on the ideal natural states of a person) in Russian romanticism, the ideas of German romanticism - the doctrine of the "world soul" and its manifestation in nature, about the presence of otherworldly In the earthly world, about the Priese Poet, Vsevladia imagination, the orphic idea of \u200b\u200bthe world as a dungeon of the soul (Creativity of Lyomudovrov, Poetry Zhukovsky, F.I. Tyutchev). The idea of \u200b\u200b"universal poetry" in Russia was in the opinion that "the whole world, visible and dreamy, is the property of the poet" (O.M. Sovov. On romantic poetry, 1823); From here a variety of topics of Russian romanticism, which combined the experiments of the recreation of the distant past (Harmonic "Golden Age" of Antiquity in idylls A.A.Delvev, Old Testament Archaic in the works of V.K. Kyhehelbecker, F.N. Glinka) with the vision of the future, often painted in the tone of antiutopia (V.F. Odoevsky, E.A. Bratsynsky), which created artistic images Many cultures (up to the unique imitation of Muslim globility in the "Imitation of the Quran" (1824) A.S. Pushkin) and the widest range of moods (from the swollen hedonism to K.N. Batyushkova, D.V. Dvaevdova to the detailed development of the "Living Dead Man" theme With reports on the sensations of dying, burials alive, decomposition in poetry M.Yu.Lermontova, A.I. Polyzheva, DP Znobishhin and other romantics of the 1830s). The romantic idea of \u200b\u200bthe nationality found a distinctive embodiment in Russian romantics, which not only recreated the system of people's consciousness with his deep archaico-mythological plants (Ukrainian story N.V. Gogol), but also painted unparalleled in modern literature The image of the nation itself as an alienated-ironic observer of a dirty struggle for power (Boris Godunov Pushkin, 1824-25).

With all national differences, romanticism possessed and integrity of mindset, manifested primarily in consciousness that "the infinite surrounded by a person" (L. L. Fragment "On Romantic", 1806). The boundaries between the various spheres of being, who determined the classical world order, lost power over the romantic personality, which came to the idea that "we are connected with all parts of the universe, as with the future, and with the past" (novalis. Flower pollen. NO 92). The person for romantics no longer serves the "measure of all things," but rather concludes "all things" in their past and the future, being an incomprehensible for the very beginning of nature, which is intended to decipher romanticism: "The mystery of nature ... fully expressed in the form of a person ... The whole history of the world is sleeping in each of us, "the Romantic Naturofilosopof G. Sustfence (Steffens N. Caricaturen Des Heiligsten. Leipzig, 1821). Consciousness no longer exhausts a person, since "everyone carries his somnambula" (I.V.Rerter. Letter to F. Baadera, 1807; see Beguin. Vol. 1); Wordsworth creates the image of the "bottom of the soul" (under Soul - the Poem "Prelude"), not affected by the external movements of life. The soul of man no longer belongs to him alone, but serves as a playing of mysterious forces: at night in us "is awake, that not our in us" (P.A. Zemlyazky. Tosca, 1831). To change the principle of the hierarchy, organized by the classic model of the world, romanticism brings the principle of analogy: "What moves in heavenly spheres should be dominated in the images of the Earth, and the same thing worries in human breast" (Tik, Genovev, 1799. Scene "Field battle "). Consent in the romantic world of the analogies cancel the vertical coodes of phenomena, equalize nature and humans, inorganic and organic, high and low; "Natural forms" romantic hero gives a "moral life" (Wordsworth. Prelude), and his own soul comprehends in external, physical forms, turning it into the "inner landscape" (term p.moreau). Opening in each subject of communication leading to the world as a whole, to the "world soul" (the idea of \u200b\u200bnature as a "universal organism" was developed in the treatise of F.V. Schellling "On the world soul", 1797), romanticism destroys the classical scale of values; W. Heslitt ("Spirit of the Epoch", 1825) calls the Muse of Wordsworth "by the" equalizer "emanating from the" principle of equality ". In the end, this approach leads to late romanticism of the 1830s (French School "Furyless Romantics") to the cultivation of the terrible and ugly, and even to the appearance of the "aesthetics of the ugly" hegelian to the Rosenkranz.

The principal openness of a romantic person, his thirst "to be all" (F. Hölderlin. Hyperion, 1797-99) identified many essential features literary romanticism. To change the hero of enlightenment with his conscious struggle for a certain place in life in romanticism comes the hero of a wanderer who lost social and geographical roots and fluently moves between the areas of the Earth, between sleep and the reality, driven by the foreboding and magic coincidences rather than clearly supplied purpose; He may accidentally gain earthly happiness (J. Eyhendorf. From the life of one loaf, 1826), to go to the transcendental invention (the transcendence of Heinrich to the "Country of Sofia" in the project completion of the novel "Heinrich von Ofelydingen" Novisa, 1800) or to stay "wanderer in eternity whose ship sails and swims and will not get anchored anywhere. "(Byron. Child Harold pilgrimage, 1809-18). For romanticism, far more important than close: "Far mountains, distant people, distant events - all this is romantic" (Novalis. Schriften). Hence the interest of romanticism to inhibition, to the "world of perfumes", which ceases to be otherworldly: the border between heaven and earthly or overcomes in the act of poetic insight ("hymns by night" Novisa, 1800), or the "other world" itself breaks into domestic everyday life (Fantasy by the age of E.T.A.Hofman, Gogol). The interest in geographical and historical inhibition is associated with this, mastering other people's cultures and epochs (the cult of Middle Ages and the Renaissance, allegedly connected creative principle and direct religious feeling, at Vakkenroder; The idealization of the morals of the American Indians in the "Ataly" of Shatubrian). Interaction of someone else is overcome by romantics in the act of poetic reincarnation, spiritual resettlement in other reality, that in the literary level is manifested as stylization (the recreation of the "Staronenets" narrative manner in the "Strands of Franz Sternbald" Tika, People's Songs in Heidelberg Romantics, various historical styles in Pushkin's poetry; Attempt to reconstruction greek tragedy Höldderlin).

Romanticism opens historical volume artistic word From now on, as "common property" of the entire history of literature: "When we say, we are every word in a glimpse of the dust thousands of meanings assigned to this word and centuries, and various countries, and even individual people" (Odoyevsky. AH Nikoliukin Russian nights. Epilogue. 1834). The very movement of history is understood as the constant resurrection of the eternal, initial meanings, the constant consonance of the past, of the present and the future, therefore the self-awareness of the older romantics is not in repulsion from the past (in particular, from classicism), but in the search for examples of romantic art in the past: " Romantic "was announced by W. Schepir and M.The Servantes (F. Schelegel. Talk about poetry. 1800), I.V.Goyat (as the author of the novel" Years of the teachings of Wilhelm Meister ", 1795-96), as well as the entire Epoch of the Middle Ages ( Where was the idea of \u200b\u200bromanticism as a return to the Middle Ages, developed in the book de Stelle "On Germany", 1810, and presented in Russian Critics VG Belinsky). The Middle Ages serve as a subject of love-nostalgic recreation in the historical novel that has reached the vertices in the work of V. Scott. A romantic poet puts himself over the story, making himself right to move on various epochs and historical styles: "The new era of our poetry should present as it were in a promising reduction of the entire history of poetry" (A.V.Shlegel. Lectures on elegant literature and art, 1801-04). The poet is attributed to the highest, synthetic look at the world, excluding any incompleteness of vision and understanding: the poet "towers over his epoch and pours its light ... In a single moment of life, he hugs all generations of mankind" (PS Ballansh. Experience on public institutions, 1818 . Part 1. Chapter 10). As a result, poetry loses the nature of a purely aesthetic expression, understood from now on as "a universal language, in which the heart finds consent to nature and with himself" (W. Shezlitt. About poetry in general, 1818); The boundaries of poetry are blocked into the area of \u200b\u200breligious experience, prophetic practice ("True poetic inspiration and prophetic firmity of each other", G.Shubert. Symbolism of sleep, 1814. Chapter 2), metaphysics and philosophy, finally, in life itself ("Life and Poetry is one. "Zhukovsky." I muse the young, it happened ... ", 1824). The main tool poetic creativitylike all thinking, for romanticism becomes imagination (his theory was developed in the treatise I.G. Maas "Experience about imagination", 1797, in the texts of the Ien romantics, articles of Kolridge, Dialogue K.V.F. Zolger "Erwin ", 1815). Higher literary genre The theory proclaims the novel as a magical merger of all forms verbal creativity - Philosophy, critics, poetry and prose, but attempts to create such a novel in reality ("Lucinda" F.shleplechae, 1799, "Heinrich von Ofeterdingen" novisa) do not reach theoretically proclaimed ideal. The feeling of principled incompetence, the opening of any statement put forward into romanticism to the foreground genre of the fragment (which, however, could grow to a significant size: the subtitle "Fragment" has the only major completed work of Novisa "Christianity and Europe", 1799; Poem Byrone "Gyur", 1813), and in the area expressive means He led to the cultivation of irony, understood as the constant critical elevation of the artist over his own statement. Romantic irony In the drama took the form of destruction of the scenic illusion, the game with the course of action (the play of teak "Cat in boots", 1797, where the audience interfere with the presentation, and "chisbino", 1798, where the hero is trying to put an action in the opposite direction), in prose It manifested itself in the destruction of the integrity of the action and unity of the book itself (in the novel "Godvi", 1800, K. Brentano, the characters quote the novel himself, whose heroes are; in " Everyday view Cat Murra, "1820-22, Hoffmann, the main action is interrupted by the" waste paper sheets "with the biography of Craisler's Capereister).

At the same time, the idea of \u200b\u200ba poetic statement as a direct "sudden outpouring of powerful feelings" is also rooted in romanticism (Wordsworth. Preface to the second edition of Lyrical Ballades, 1800), which leads to the development of the genre of lyric meditation growing sometimes to the scale of the monumental poem (" Prelude »Wordsworth). And in the epic genres, the narrator with his subjective position and clearly expressed emotions is highlighted on the fore; arbitrarily placing the episodes of the narrative, mocking them lyrical deviations (novels Jean fields with their whimsical composition; "Don Juan", 1818-23, Bairon; "Wanderer", 1831-32, A.F.Veltman; for this tradition, Evgeny Onegin, 1823-31, Pushkin) He himself becomes a forming factor: Thus, the Personality of Bairon identified the form of his poems, because "he began to tell the middle of the incident or from the end, without taking care of the soldering of the parts" ("The Son of the Fatherland". 1829). Characteristic of romanticism and free cyclic forms With alternating philosophical and lyrical comments and plug-in Novella ("Serapionov Brothers", 1819-21, Hoffman; "Russian nights", 1844, Odoyevsky). The representation of the world body, permeated with the analogies, corresponds to both the literary form in which fragmentation is often combined with the fluidity, the predominance of the fusion over the distinct members of the form. Novalova determines such a form as a "magic romantic order", "for which the rank and value that does not differ, which does not distinguish between the beginning and the end, large and small" (Schriften); Kalridge protects the poetic principle of "rows flowing into each other, instead of forming a completion at the end of each two-perception" (Biographia Literaria. Chapter 1) and carries out this principle in the "Vision" "Kan Khan" (1798). The language of poetry is compared with music languages \u200b\u200b(see musicality in the literature) and sleep; This last "faster, spiritual and brief in its progress or flight" than a common language (Schubert. Symbolism of sleep. Chapter 1).

Evolution of romantic worldview

The evolution of the romantic world-carriage from the second half of the 1810s moved to the decay of the initial synthetic-one-piece vision, the detection of non-meteable contradictions and the tragic foundations of being. Romanticism during this period (especially in the 1820s) is increasingly understood as romantics themselves in a negative protest spirit, as a refusal of norms and laws in the name of individualism; Romanticism - "Liberalism in the literature" (Hugo. Preface to the "poems of Sch.Doval", 1829), Parnassian Aphidism (Pushkin. To Rodzyanka, 1825). In historical consciousness, romanticism increases eschatological sentiment, the feeling that "drama human historyPerhaps it is much closer to the end than to the beginning "(F.Shlegel. The signature of the era, 1820), the theme of the" last person "is approved in the literature (" Last Death ", 1827 and" Last poet", 1835, Baratyansky; Roman "Last Man", 1826, Mary Shelley). The past no longer enriches, but aggregates the world ("the world is tired of the past, he must or die, or finally relax." - PB Shelli, Ellad, 1821); "People and time of slave, the earth aged in captivity" - P.A. Izzemsky. Sea, 1826); History now thinks tragically, as the alternation of sin and atoning sacrifice: already the capital hero of the tragedy of Hölderlin "death of EmMedocla" (1798-99) felt designed to die to redeem his era, and in the 1820 ps. P. Ballansch builds the concept of history as Repeating sacrificial redemary cycles ("they have been involved in the experiments of social panelingness", 1827). Late romanticism with a new force is experiencing a Christian sense of initial sinfulness of manwhich is perceived as his irrational wines in front of nature: a person, "This is a mixture of dust with the Divine", with its "mixed essence" only "makes a conflict in the elements of nature" (Byron. Manfred, 1817). The topic of inherited guilt, the inevitability of fate, curse and redemption of blood sounds in the "Rock tragedies" (Z.Verner, F. Hyrilparter), the tragedy of Kleist "Pentsecilei" (1808), Hugo's dramas. The principle of the analogy that entered the early romantics "to make dazzling jumps through impassable rally" (Berkovsky) is deprived of force; The unity of the world is either imaginary or lost (this worldview was anticipated by Hölderlin in the 1790s: "Blessed Unity ... Lost for us." - Hyperion. Preface).

In late romanticism, with his conflict of ideal and reality (Romantic "Dwymiria"), the hero is irretrievably alienated from the world, society and the state: "The wandering spirit, expelled from another world, he seemed a stranger in this world of living" (Byron. Lara, 1814 ); "I live alone the dead" (Lermontov. Azrail, 1831); Poets in the world are not priests, but "Ski-on-Earth, homeless and siema" (Field N.A. Essays of Russian literature). Split undergoes himself romantic man , becoming a "battlefield, in which passions are fighting with will" (A.A. Marlinsky. About the novel of N.Polevoy "Oath under the coffin of the Lord", 1833); He is either aware of an irreconcilable contradiction in itself, either faces his demonic double ("Devil's Elixirs", 1815-16, Hoffman; "The city fell asleep, I wander lonely ..." From the cycle "Return to the Motherland", 1826, G.Gene) . The splitness of reality on the metaphysical level is understood as an irreconcilable and hopeless struggle of good and evil, the divine and demonic ("Eloa", 1824, A.De Viny, where the angel is trying to save Lucifer, but it turns out to be in his power; "Demon", 1829- 39, Lermontov). Dead mechanism, from which romanticism, it would seem, got rid of his Metaphor of the world as a living organism, again returns, personified in the image of a machine, dolls (prose of Hoffmann; "On the Puppet Theater", 1811, Jehiista), Golema (Novella L. Arima Isabella Egypt ", 1812). The gullibility, inherent in early romanticism, confidence that "Son of Nature Titles tied him to the world" (U. Dersworth. Prelude), is replaced by suspiciousness and feeling of treason: "Poison in everything that is treated" (Delvig. Inspiration, 1820) ; "Although you are a person, you have not changed me," the Bayron appeals to the sister in the "Stans by August" (1816). Salvation is searched in flight (romantic "escapism", partly submitted already in early romanticism in the prose of Sennankura and Chateobrica) to other forms of life, in the role of which nature, exotic and "natural" cultures, imaginary world of childhood and utopia, and in Changed states of consciousness: now not irony, but madness is proclaimed by a natural reaction to the anti-rigid life; Madness expands the mental horizon of a person, because the crazy "finds such relations between the objects that we seem impossible" (Oryoevsky. Russian nights. Night second). Finally, "Emigration from the World" (Shatubrian expression: Quote by: Schenk) can be realized in death; This motive acquires special distribution in late romantics, widely developed an orthophical metaphor of the body and life as a dungeon, which is already present at Göldderlin ("We Try Now in our patient's patient." - Hyperion) and Wordsworth ("The shadows of prison begin to climb over the growing child." . - Oda: Immortality signs, 1802-04). There is a motive of love for death (in the story of Shelley "Una Favola", 1820-22, the poet is in love and death, but only the last, "dwelling with love and eternity"), the idea that "perhaps it is death leads To the highest knowledge "(Byron. Cain, 1821). An antithesis escape from a split world in late romanticism can serve a goggle riot or a stoic acceptance of evil and suffering. If early romanticism almost destroys the distance between the person and God, the friendly connecting them is hardly on equal ("God wants the gods"; "We appointed themselves with people and chose God, as the monarch choose" - novalis), then in late romantics, their relationship is committed. Romanticism now creates the image of a heroic skeptic - a man, fearlessly broken with God and the remaining in the middle of the empty, alien world: "I do not believe, about Christ, your holy word, I came too late in the too old world; From the century, deprived of hope, a century will be born, in which there will be no fear, "says the hero Mussse (Rolla. 1833); In Fauste, N. Slau (1836), the hero refuses to serve the "shoe" for the legs of Christ and decides to independently approve his own "adamant I"; At the "Eternal Silence of the Divine" such a hero "answers with a cold silence" (Vinya. Eleon Mountain, 1843). Stoic position often leads romance to the apology of suffering (Baratynsky. "Believe me, my friend, the sufferment needs us ...", 1820), to his fetishization ("Nothing gives us such greatness as a great suffering." - Mussse. May night, 1835 ), and even to the idea that the blood of Christ does not take kidding human suffering: Vinya plans the work about Terrible courtwhere God as a defendant appears to humanity-judge to "explain why the creation is why the suffering and death of innocent" (Vigny A. De. Journal d'un Poete).

Aesthetics of realism and naturalism

Aesthetics of realism and naturalism, to a large extent determined literary process The second half of the 19th century, painted the concept of romanticism into negative tones, associating it with rhetorical verbosity, the predominance of external effects, melodramaticism, is truly characteristic of epigales of romanticism. However, outlined romanticism problem circle (the themes of the lost paradise, alienation, guilt and redemption, the motives of the borough care, the bog content and the "nihilistic consciousness", etc.) turned out to be a durable of the actual romantic poetics: he retains importance in later literature, which enjoyed other stylistic means and no longer aware of its continuity with a romantic tradition.

Romanticism is often understood not only as a historical concept, but also as a universal aesthetic category (already Ien romance seen in the "romantic" element inherent in any poetry; in the same spirit and S. Bodler considered "romantic" any " modern Art"In which there is" subjectivity, spirituality, paint, aspiration to infinite. " - "Salon 1846"). G.V.F. Gegel defined the word "romantic" one of the three (along with the symbolic and classical) global "artistic forms", in which the Spirit, glowing with the external, appeals to its inner being, so that "enjoy your infinity and freedom "(Aesthetics. Part 2. Section 3, Introduction). There is also an idea of \u200b\u200bromantic as an ever repeated phenomenon, alternating with the same perpetual "classicism" ("All classicism assumes the preceding romanticism." - P.Valery. Variete, 1924). Thus, romanticism can be comprehended and as a timeless spiritual and aesthetic orientation inherent in works different epochs (romance).

The word romanticism occurred from German Romantik, French Romantisme, English Romanticism.

Romanticism is a direction in art and literature, which emerged at the end of the 18th century in Germany and spread over Europe and America.

Signs of romanticism:

The underlined attention to the human person, individuality, the inner world of man.

An exceptional image in exceptional circumstances, a strong, rebar personality, irreconcilable with the world. This person is not only free to the Spirit, but still special and unusual. Most often it is a single, which most other people do not understand.

The cult of feelings, nature and natural state of a person. Denial of rationalism, cult of mind and ordering.

The existence of "two worlds": the world of the ideal, dreams and peace of reality. There is an irreparable inconsistency between them. This leads artists-romantics in the mood of despair and hopelessness, "world grief".

Appeal to folk plots, Folklore, interest in the historical past, the search for historical consciousness. Active interest in national, folk. Raising the national self-consciousness, the focus on the originality among creative circles European peoples.

In the literature and painting are becoming popular detailed descriptions of exotic nature, stormy elements, as well as images of "natural" people, "not spoiled" civilization.

Romanticism completely abandoned the use of stories about antiquity, popular in the era of classicism. He led to the emergence and approval of new literary genres - a song ballad based on folklore, lyrical song, romances, historical novels.

Outstanding representatives of romanticism in the literature:George Gordon Byron, Victor Hugo, William Blake, Ernst Theodore Amadeus Hoffman, Walter Scott, Heinrich Heine, Friedrich Schiller, Georges Sand, Mikhail Lermontov, Alexander Pushkin, Adam Mitskevich.

On the formation and development of romanticism in the artistic culture of Russia first third XIX. The centuries influenced the following factors: the war of 1812, the movement of the Decembrists, the ideas of the Great French bourgeois revolution. A feature of Russian romanticism is the development and deepening of the tasks of Russian education in the art of romanticism in Russia, and this is the main difference between Russian romanticism from Western European, approved in the fight against educational ideology. A very accurate characteristic of Russian romanticism gave V. G. Belinsky: "Romanticism is a desire, the desire, gust, feeling, sigh, moan, a complaint about the unsolved hopes that did not have a name, sadness on the lost happiness, which God knows what was" .

Romanticism in Russian literature is distinguished by the variety of currents: Elegy ( V.A. Zhukovsky), revolutionary ( K.F. Yelelev, V.K.Kühhelbecker), philosophical ( Baratynsky, Batyushkov), their interpenetration and conventionality of definitions.

Synthetic character differs creativity A.S. Pushkinwhich already in this period of time is distinguished by aging in it realistic began. Peace pushkin heroes differs from romantic heroes Zhukovsky, Ryleev and Byrona people's peculiarity and a bright hand-drawd language.

The new stage of the development of romanticism in Russia begins after the Decembrist uprising. A special role in Russian romantic poetry plays M.Yu.Lermontov - The direct heir to Pushkin and Decembrists, the poet of his generation, "awakened by cannon shots on the Senate Square" (A.I.Grenz). His lyrics distinguishes the Bunlet, rebellious character. His works are inherent in the hero of the hero on modernity, longing to ideal and "fiery protection of human rights to freedom" (V.G. Belinsky).

Russian romantic prose XIX. century presented V.F. Odoevsky, the historical and fantastic novels of which are full of interest in history, past Russia are filled with the motives of the wonderful, mysterious, folk folklore. Fantastic stories A.Pogorelsky ("Black Chicken", "Lafertovskaya Makovnitsa") - a combination of realism and fantasy, humor and elevated feelingsbased on the literary development of Russians folk fairy tales and folklore.

Western European and Russian romanticism interjected to each other and mutually engraved in this process. A literary translation and the importance of the activities of the Zhukovsky as a translator and the popularizer of the Masterpieces of European Literature becomes particularly significant at this time.

Romanticism in Russian visual art.

The main feature of romanticism in Russian painting is a combination of romanticism with realistic quest. There is a special interest in spiritual peace man. Psychologist and national peculiarities are distinguished by the work of the Russian artist O.A.Kiprensky:,. External tranquility and the inner tension of images reveal deep mental excitement, the power of feelings. Warm, sonorous color gamma is distinguished by portraits created in the first two decades of century. - High spiritualism of the poet's image, captured in him, energy, subtle gear of deeply hidden feelings of bitterness, and spiritual pain. Women's images (,) distinguishes tenderness and poetry.

Realistic features appear in romantic works V.Tropinina (,). - Other, the original interpretation of the poet, the minister of the music.

Traditions of classicism and traits of romanticism come into contact in works K.P. Brullova. Clearly felt romantic pathos Pictures, opposition to the sensation of disasters, tragic hopelessness and dedication, spiritual beauty of people at the time of mortal danger. In this canvas, the red thread is the connection of the ideas of painting with Russian reality early XIX. century. As an artistic expressive means, you can note the courage of the color solution, contrasts of color and light, light reflexes. Beauty and expressiveness are distinguished by the works of the Bryrukov Italian period, women's images (,), men's portraits (,).

It should be especially mentioned on the role of the autoportist in the work of Russian artists-romantics. He appears as the history of the spiritual life of society of the first halves XIX. century, showing the identity of the contemporary, which reflected the world of deep human feelings and passions (self-portraits,). Disappointed, loneliness of the hero, disorder with society, foreshadow the appearance of the "Hero of Our Time" in the Kiprensky autoports (1822-1832). Doomed, hopelessness, deep fatigue " unnecessary people"Fights in the Bryullov self portrait (1848). And at the same time, the tragic sound, the poetic subtlety of the image. The picturesque language of romantic artists is full of tense contrasts of lighting, sonorous colors as a means of characteristics of heroes.

Romanticism in Russian music.

A special impact on the formation of professional musical art of the beginning of the XIX century was the national climb of Russian self-consciousness.

Creativity of the Great Russian Composer M.I. Glinka - Start new era development of musical art. Glinka appeared true singer Russian people.

In the works of Glinka, there is a non-painting link of music with folk soil, artistic rethinking folk images. In the work of Glinka, there is a connection with the world musical culture, which we can hear in the processing of Melodies of Italy, Spain, France, the East ("Aragon Khota", "Tarantel").

Romanticism filled with ballads and romances of the composer to the poems of Russian poets. Their artistic perfection, full and harmonious merger of music and text, vitality, painting of musical images, emotional raise, passionality and thin lyricism make Glinka's romances unsurpassed samples of musical creativity ("Night-looking", "doubt", "I remember a wonderful moment", " Waltz fantasy ").

Glinka is also a realist, the founder of the Russian music symphony school ("Kamarinskaya"), in which the best features of Russian realistic music were manifested, connected with the bright features of romantic attacks: mighty passion, the imperiety of the spirit, the free flight of fantasy, the strength and brightness of the musical color.

High ideals of Russian art appear to us in Glinka operations. In the heroic-patriotic opera "Ivan Susanin" (the original name of this opera "Life for the king"), the composer seeks to show typical features, convey the image of the thoughts and feelings of the people. Innovation was the appearance on the opera scene as the main tragic hero Kostroma peasant. Glinka shows his typical and individuality, relying on folk song In his musical characteristic. Interesting musical images of other opera heroes (Antonina, her fiance, Poles). The introduction of Polish folk melodies (polonais, Mazurka) gives a peculiar flavor to individual opera scenes. Among the fragments of the opera, which we recommend for listening to the tragic aria of I.Susanin and the solemn, jealous, the gymnic sound of the final choir "Walk". Opera "Ruslan and Lyudmila" - a solemn anthem light, good, beauty, the epic-epic interpretation of the junior poem Pushkin. IN musical drama We will hear the principle of picture comparisons, contrast inherent in the nature of Russian fairy tales and national Epos. Musical characteristics The heroes are fabulous and bright. The music of the East in Opera is organically combined with the Russian, Slavic musical line.

Getting started romantic workIt should be remembered that the main admission of romantics is the antithesis (opposition), on this technique, works of literature, music and painting of romanticism are built. In the literature, these are the opposite images of the main characters in their characteristic; In music, these are contrasting intonation, themes, their struggle and interaction; In painting - also contrasting paints, "talking background", the struggle of light and darkness.

1. Romanticism (Fr. romantisme) - phenomenon european Culture In the XVIII-XIX centuries, which is a reaction to enlightening and stimulated by scientific and technical progress; Ideal and artistic direction in the European and American culture of the late XVIII century - the first half of the XIX century. It is characterized by an assertion of the intrinsicness of the spiritual and creative life of the person, the image of strong (often rebellious) passions and characters, spiritualized and healing nature. Established to various fields of human activity. In the XVIII century, romantic called everything strange, fantastic, scenic and existing in books, and not in reality. At the beginning of the XIX century, romanticism became the designation of the new direction opposite to classicism and education. Romanticismreplaces the Epoch of Enlightenment and coincides with the industrial coup, indicated by the appearance of a steam machine, a steam locomotive, steamer, photos and factory-factory-factory. If the enlightenment is characterized by a cult of mind and based on its beginnings of civilization, romanticism claims the cult of nature, feelings and natural in man. It is in the era of romanticism that the phenomena of tourism, mountaineering and picnic, designed to restore the unity of man and nature. The image of the "noble savary" armed with "folk wisdom" and not spoiled by civilization is in demand. The interest in folklore, history and ethnography is awakening, which is politically projected in nationalism in the center of the world of romanticism is the personality of a person, striving for complete inner freedom, to excellence and update. Free romantic personality perceived life as a role, theatrical action in the framework of world history. Romanticism was permeated by Paphos personal and civil independence; The idea of \u200b\u200bfreedom and renewal has appeared and the desire for the heroic protest, including the national liberation and revolutionary struggle. Instead of the "imitation of nature proclaimed by the classicists, romantics laid the creative activity, transforming and creative world. The world of classicism predant - the world of romanticism is continuously created. The basis of romanticism was the concept of dutymirine (peace of dreams and peace real). The disorder between these worlds is the starting motive of romanticism from the rejection of the existing real world, there was a flight from the enlightened world - in the dark centuries of the past, in distant exotic countries, fiction. Escapism, flight to "unenmended" era and styles, Putal the principle of historicism in romantic art and life behavior. Romanticism opened self-reliability All cultural eras and types. According to the theorists of romanticism at the turn of the 18-19 centuries, historicism was nominated as the main principle of artistic creativity. In countries less affected by the enlightenment, a romantic person, realizing the equivalence of cultures, rushed to find the national foundations, historical roots of his culture, to its origins, opposing them with dry universal principles of the educational universe. Therefore, romanticism gave rise to ethnicity for which an exceptional interest in history is characterized, to the national past, folklore. In each country, romanticism acquired a pronounced national color. In art, this was manifested in the crisis of Academism and the creation of national-romantic historical styles.

Romanticism in literature.Romanticism emerged for the first time in Germany, in the circle of writers and philosophers of the Ian School (V.G. Vakkenroder, Ludwig Tik, Novovis, Brothers F. and A. Schlegeli). The philosophy of romanticism was systematized in the works of F. Schlegel and F. Shelling. In the future, the development of German romanticism is distinguished by interest in fabulous and mythological motives, which was particularly pronounced in the work of the Vilhelm brothers and Jacob Grimm, Hoffman. Heine, starting his creativity within the framework of romanticism, later exposed his critical revision.

In England, the German influence is largely due to the German influence. In England, his first representatives are the poets of the "Lake School", Wordsworth and Karridge. They installed theoretical basis His destination, having familiarized himself while traveling in Germany with Schelling philosophy and the views of the first German romantics. For English romanticism, interest in public problems is characterized: the modern bourgeois society they oppose the old, dobuzhuazny relations, chasing nature, simple, natural feelings. A bright representative of English romanticism is Bayron, who, according to Pushkin, "envelope in dull romanticism and hopeless egoism." His creativity is imbued with a pathos of struggle and protest against the modern world, chanting freedom and individualism. Also to English romanticism includes the work of Shelly, John Kita, William Blake. Romanticism received distribution in other European countries, for example, in France (Shatubin, J. Steel, Lamartin, Victor Hugo, Alfred de Vigni, Prospere Merim, Georges Sand), Italy (N.U. Foscolo, A. Mandzoni, Leopard) , Poland (Adam Mitskevich, Julius Slovak, Zygmouth Krasinki, Ciprian Norvid) and in the USA (Washington Irving, Fenimor Cooper, U.K. Bryant, Edgar by, Nathaniel Gotorn, Henry Longfello, Hermann Melville).

Romanticism in Russian literature. It is usually believed that in Russia romanticism appears in poetry V.A. Zhukovsky (although the preconvenant movement developed from sentimentalism often includes some Russian poetic works of 1790-1800s). Freedom from classical conventions appears in Russian romanticism, a romantic drama is created. The new idea of \u200b\u200bthe essence and the meaning of poetry is approved, which is recognized as an independent sphere of life, the expressiveness of the highest, ideal aspirations of a person; The former look at which poetry seemed empty fun, something quite official, it is no longer possible. Early Poetry A.S. Pushkin also developed in the framework of romanticism (the ending is considered to be the poem "to the sea"). The peak of Russian romanticism can be called poetry M.Yu. Lermontov, "Russian Byrona". Philosophical Lyrics F.I. Tyutchev is both completion and overcoming romanticism in Russia.

2. Byron (1788-1824) - Great English Poet, the ancestor named by his name of the bayronic flow in the European xIX literature in. The first major works of Bayron were the two first songs of the poem "Child-Harold", which appeared in the press in 1812. These were travel impressions from the travel of Bairon in the European East, purely externally combined around the identity of Child Harold. The main features of this image were repeated later in the central figures of all works of Bayron, developed and became complicated, reflecting the evolution of the mental life of the poet himself, and in general, created the image of a carrier of world sorrow, the "bayronic" hero, which prevailed in European literature for the first three decades of the XIX century . The essence of this nature, like all European romanticism, is the protest of the human person as a russia against the constraintful public system. Bayron separated from Rousseau three decades filled with the greatest events new story. During this time, the European Society experienced together with the French revolution of the Epoch of Grand Ods and Forky Hope and the strip of the most bitter disappointments. The ruling england and a hundred years ago, as now, stood at the head of the political and social reaction, and the English "society" demanded from each of his member of unconditional external subordination to the officially recognized code of moral and secular rules. All this in connection with the unbridled and passionate nature of the poet itself contributed to the fact that Byrona Roussely turned into an open challenge, an irreconcilable war with society and told his heroes of deep bitterness and disappointment. In the works that appeared directly behind the first songs of Choir Harold and also reflective the impressions of the East, the images of heroes are becoming greasy. They are burdened by mysterious criminal past, heavily lying on their conscience, and confess the messenger to people and fate. In the spirit of this "robber romance" the heroes of "Gyura", "Korsara" and "Lara" were written.

The political liberation of Byron and the freedom of his religious and moral views aroused against him the present of all English society, who took advantage of the history of his unsuccessful marriage to stick him as a unheard of a sinner. Byron with a curse rustles all connections with an old life and the Fatherland and goes to a new trip to Switzerland. Here they were created the third song of Childe Harold and Manfred. The fourth and last song of this poem was written by Byron in Italy. She recreated his disaster among the ruins of ancient Italy and was imbued with such a hot appeal to the liberation of the Italian people, which was in the eyes of Italy's reactionary governments with a dangerous revolutionary act. In Italy, Bayron joined the carbonarian movement, striving in the 20s of the XIX century. To the liberation of Italy from the Austrian dominion and the tyranny of their own governments and to the National Association. He soon becomes the head of one of the most active carbonarian sections and is based in London a body for distributing the ideas of carbonism and supporting a pan-European liberal movement. In these years, Byron was created by the remaining unfinished poem Don Juan, a brilliant satire for all civilized society. In 1823, Greek's liberation supporters offered Bayron to become the head of the rebels of Greece. Byron followed this call, gathered a volunteer squad and went to Greece. Among the works on the organization of the Greek army, he fell ill and died in Missolungs in 1824. Bayron's poetry had a great influence on Pushkin's poetic creativity and especially Lermontov. George Gordon Byron was born in London on January 22, 1788. According to the father, the Guards officer John Byrone Bayron took place from the highest aristocratic nobility. Marriage of parents failed, and soon after the birth of Gordon, the mother took a little son in Scotland to the city of Aberdeen

3. Ernst Theodore Wilhelm Amadeus Hoffman (January 24, 1776, Königsberg - June 25, 1822, Berlin) - German writer, composer, artist of the romantic direction. Alias \u200b\u200bas a composer - Johann Craisler (Him. Johannes Kreisler). Gofman was born in the family of Prussian royal lawyer, however, when the boy was three years old, his parents diverged, and he was brought up in the grandmother's grandmother's house under the influence of his uncle of a lawyer, a man of smart and talented, but prone to fiction and mysticism. Gofman early showed wonderful abilities to music and drawing. But, not without the influence of uncle, Hoffman chose himself a path of jurisprudence, from which all his subsequent life was trying to escape and earn art. Creativity of the Hoffman in the development of German romanticism is a stage of a more acute and tragic understanding of reality, refusal from a number of illusions of Ien romantics, revising the relationship between ideal and reality. Hero Hofman tries to escape from the Okov of the world around him through irony, but, understanding the powerlessness of the romantic confrontation of real life, the writer himself laughs at his hero. The romantic irony of the gofman changes its direction, it, unlike Inets, never creates the illusions of absolute freedom. Hoffman focuses close attention to the personality of the artist, believing that he is more free from mercenary motivations and petty worries.

The problem of romanticismit belongs to the number of the most difficult in science of literature. The difficulties of solving this problem are predetermined to some extent the insufficient clarity of terminology. Romanticism is called I. artistic method, and literary direction, and a special type of consciousness and behavior. However, despite the discussion of a number of provisions of the theoretical and historical and literary nature, most scientists agree that romanticism was the necessary link in artistic Development humanity that without it would be impossible to achieve realism.

Russian romanticism With its occurrence, it was connected, of course, with pan-European literary movement. This was internally due to the objective process of the development of Russian culture, they found the development of the trend that were laid in the Russian literature of the previous period. Russian romanticism was generated by an impending socio-historical fracture in the development of Russia, he reflected the transition, the instability of the existing socio-political defendant. The gap between the ideal and reality caused the negative attitude of the advanced people in Russia (and above all the Decembrists) to the cruel, unfair and immoral life of the prevailing classes. Even recently, the ideas of enlightenment were associated the most bold hopes for the possibility of creating public relations based on the principles of mind and justice.

Soon it turned out that these hopes were not justified. Deep disappointment in educational ideals, a decisive rejection of bourgeois reality, and at the same time not understanding the essence of antagonistic contradictions existing in life, led to the sensations of hopelessness, pessimism, disbelief into the mind.

Romantics claimedthat the highest value is the human person, in the soul of which is a beautiful and, mysterious world; Only here you can find inexhaustible sources of genuine beauty and high feelings. It is visible for all this (let not always clearly) the new concept of personality, which cannot and should not be more subordinate to the power of the estate-feudal morality. In his artistic work Romantics sought in most cases not to reflect the real reality (which was low, anti-systhetic), not to understand the objective logic of life development (they were not at all confident that such logic exists). Based on them artistic system It was not an object, but a subject: a personal, subjective start acquires romantics crucial importance.

Romanticism It is built on the approval of the inevitable conflict, the total incompatibility of everything is truly spiritual, human with the existing lifestyle (whether it is a feudal or bourgeois structure). If life is based only on the material calculation, then, naturally, it is alien to her all high, moral, humane. Consequently, the ideal is somewhere outside this life, outside of feudal or bourgeois relations. Reality, as it were, disintegrated by two worlds: Vulgar, ordinary here and wonderful, romantic there. Hence the appeal to an unusual, exceptional, conditional, sometimes even fantastic images And the paintings, the desire to all exotic - everything that opposes everyday, everyday reality, everyday prose.

The same principle builds a romantic concept of a human character. The hero is opposed to the medium, towers above it. Russian romanticism was not homogeneous. Typically, there are two main currents in it. The terms taken in modern spider, psychological and civil romanticism allocate ideological and artistic specifics of each current. 15 One case is romance, feeling growing instability public Lifewho did not satisfy them ideal ideas, went to the world of dreams, into the world of feelings, experience, psychology. Recognition of the intrinsicness of the human personality, a close interest in the inner life of a person, the desire to reveal the wealth of his mental experiences - it was strengths psychological romanticism, the most prominent representative of which was V.

A. Zhukovsky. He and his supporters put forward the idea of \u200b\u200bthe inner freedom of personality, its independence from the public environment, from the world at all, where a person cannot be happy. Without achieving freedom in socio-politically, the more persistently insisted romance on the approval of human spiritual freedom.

With this flow The appearance in the 30s of the XIX century is genetically connected. A special stage in the history of Russian romanticism, which is most often called philosophical.

Instead of high genres cultivated in classicism (ODA), other genre forms. In the field of lyrical poetry, an elegy, transmitting sadness, grief, disappointment, melancholy becomes the lead genre in the field of romantics. Pushkin, making Lensky ("Eugene Onegin") by a poet-romantic, in a subtle parody listed the main motives of Eleginic lyrics:

• He sang separation and sadness,
• And something and foggy distance
• And romantic roses;
• He sang those distant countries

Representatives of another current in Russian romanticismcalled for a straight fight against modern society, glorifying the civil validity of fighters.

Creating the poems of high social and patriotic sound, they (and these were primarily the poets-Decembrists) used certain traditions of classicism, especially those genre and stylistic forms that attached them to poems the character of the raised speech speech. They saw in the literature primarily a means of propaganda and struggle. In whatever forms, the controversy between the two main currents of Russian romanticism occurred, yet existed and common features Romantic arts that were united by: opposition to the high perfect hero of the world of evil and confusion, protest against the syllary man of authentic and fastening reality.

It is especially necessary to note the persistent desire of romantics to the creation of a distinctive national Culture. In direct connection with this is their interest in domestic history, oral people's work, the use of many folk genres, etc.

d. Russian romantics It also united the idea of \u200b\u200bthe need to directly connect the life of the author and its poetry. In the life itself, the poet should behave in poetic, in accordance with those high ideals that are proclaimed in his verses. K. N. Batyushkov so expressed this requirement: "Live, as you write, and write how you live" ("Something about poet and poetry", 1815). Thus, a direct connection was approved literary creativity With the life of the poet, his own personality, which reported poems a special power of emotional and aesthetic impact.

In the future, Pushkin managed to more high level Combine the best traditions and artistic conquests of both psychological and civil romanticism. That is why Pushkin's creativity is the top of the Russian novel of the thousands of the 20s of the XIX century. Pushkin, and then Lermontov and Gogol could not pass by the achievements of romanticism, his experience and discoveries.